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INTERNATIONAL  CARTOONS 
OF  THE  WAR 


PUNCH,   OR  THE   LONDON   CHARIVARI.— August   12.   1914. 


V 


BRAVO,    BELGIUM! 


INTERNATIONAL 


CARTOONS 
OF  THE  WAR 

SELECTED  WITH  AN  INTRODUCTION 

by  H.  PEARL  ADAM 


E.   P.  DUTTON    &>   CO. 
68 1    FIFTH    AVENUE 

NEW    YORK 


\ 


^ 


K 


The  design  on  the  Cover  is  reproduced  from  the 

Colour-Plate — Rheims    Cathedral — by    Marcel 

Gaillard.      That  on  the  Title-page  is  reprinted 

by  permission  from  Le  £Mot^  Paris. 


lo  vmiJ 
MWPoiuaO 


On 


International   Cartoons  of  the  War 


INTRODUCTION 

The  historian  who,  a  couple  of  centuries  hence,  tries  to  get  at  the  real 
kernel  of  the  great  War,  will  find  himself  overwhelmed  with  material,  buried 
under  evidence,  like  the  great  authority  on  Penguinia.  Every  doubtful 
point  will  be  clearly  and  irrefutably  decided  for  him  in  at  least  seven  differ- 
ent ways.  A  burning  sense  of  conviction  may  be  his,  but  he  will  not  be 
sure  which  conviction  it  is.  The  lot  of  the  historian  has  changed  for  the 
worse  since  the  days  of  Herodotus.  It  no  longer  suffices  for  an  account 
of  a  battle  to  be  possible  if  not  probable,  marvellous  if  not  possible,  for  it 
to  rank  as  history  ;  mankind  chose  to  start  on  the  thorny  quest  of  Truth, 
and  is  now  beginning  to  see  that  in  every  affair  there  are  exactly  as  many 
Truths  as  there  are  actors. 

When  the  war  broke  out  in  August,  19 14,  the  curious  art  of  conveying 
a  knowledge  of  thoughts  and  fact  between  two  or  more  human  organisms, 
the  only  art  or  appliance  which  man  has  really  invented  without  referring 
to  Nature — the  art  of  writing — was  resorted  to  on  every  hand.  An  unpre- 
cedented crop  of  war  books  began  to  sprout  from  the  blood-fertilized  fields 
of  Flanders.  Men  might  safely  exclaim:  "Mine  enemy  hath  written  a 
book";  they  had  perforce  to  add:  "And  so  hath  each  of  my  friends." 
They  poured  from  the  Press,  little  books  and  big,  sober  and  hysterical, 
speculative  and  emotional.  After  them  came  the  sedate  polychromatic 
procession  of  Government  literature.  Along  with  them  flowed  the  swift 
and  multitudinous  efforts  of  journalism.  And  in  a  very  short  time  began 
those  strange  enterprises,  at  once  droll  and  portentous,  the  Serial  Histories 
of  the  War. 

What  the  great  historian  will  make  of  all  this  when  his  time  comes  to 
correlate  it,  it  is  difficult  to  say.  If  he  feel  conscientiously  bound  to  consult 
contemporary  evidence,  there  is  little  hope  for  him,  unless  he  takes  the 
bold  step  of  writing  a  historical  novel  out  of  his  inner  consciousness  instead. 

v. 


^14. 


M 


INTRODUCTION 

But  there  will  be  at  least  one  unfailing  guide  for  him.  The  very  increase 
in  mechanical  processes  which  contributes  to  his  undoing  in  the  matter  of 
books,  will  come  to  his  aid  with  regard  to  pictures.  Every  great  event 
since  the  invention  of  mechanical  reproductive  processes  has  produced  its 
due  reflection  in  the  mirror  of  the  artist.  The  crude  old  broadsheets  told 
their  tale  of  the  Napoleonic  wars  more  vividly  than  any  historian  could; 
and  the  present  struggle,  while  it  slew  nearly  every  other  art  for  the  time 
being,  worked  up  to  fever-pitch  the  output  of  pictorial  comment.  In 
France,  where  this  form  of  expression  has  always  been  popular,  an  unex- 
ampled flood  of  cartoon  and  caricature  poured  from  artists  both  celebrated 
and  unknown.  Other  countries  followed  suit,  in  proportion  to  their 
national  liking  for  prints;  and  the  evidence  supplied  by  this  mass  of  inter- 
national material  is  as  direct  and  reliable  as  anyone  need  demand. 

II. 

The  value  of  the  contemporary  cartoon  is  very  great;  for  it  deals  almost 
entirely  with  what  people  are  feeling,  in  distinction  to  what  they  are  doing. 
It  uses  their  deeds  as  a  mere  background  to  their  emotions,  and  it  is  only 
the  emotions  which  count.  What  the  soldier  feels,  the  sailor,  the  mother 
at  home,  the  man  in  the  street — these  are  the  really  important  things,  for 
it  is  these  things  which  are  the  causes  of  events.  If  enough  ordinary 
people  want  peace  at  any  price,  the  Governments  of  all  the  States  in  the 
world  will  be  powerless  to  wage  war  one  moment  longer;  if  enough  ordin- 
ary people  consider  their  honour  involved  in  fighting  to  a  finish,  emperors 
and  kings  and  presidents  and  trade  unions  and  the  N.C.C.  will  united  be 
unable  to  break  the  smallest  twig  from  the  olive. 

The  material  of  the  cartoonist  is  drawn  from  sources  useless  to  the 
writer,  or  at  best,  of  only  ephemeral  utility.  A  chance-heard  remark,  the 
expression  of  a  face  seen  in  the -street,  the  glances  turned  on  a  wounded 
man  as  he  hobbles  by  on  his  stick,  the  ineptitude  of  a  comment  on  the  day's 
news — these  are  the  media  by  which  the  cartoonist  conveys  his  view  of 
what  his  country  feels.  And  he  has  this  advantage  over  the  writer — that  a 
well-done  drawing  is  a  volume  in  itself;  in  one  glance  the  eye  has  absorbed 
the   background    which   a  tedious   explanation   is   necessary  to   convey   in 

vi. 


(.) 


INTRODUCTION 

words,  and  is  free  to  take  in  the  essential  meaning  of  the  drawing.  A 
picture  appeals  as  directly  to  the  eye  as  does  a  sunset,  or  as  food  to  the 
stomach,  or  a  soft  bed  to  the  tired  body.  It  uses  a  natural  sense,  not  a 
cultivated  faculty. 

Cartoons  are  meant  for  the  man  in  the  street;  they  are  meant  to  tell  a 
story,  to  convey  some  feeling  or  idea  rather  than  to  be  an  artistic  rendering 
of  an  object  or  collection  of  objects.  Therefore  artistic  canons  apply  to 
them  in  this  limited  sense — that  while  the  great  cartoonist  may  and  must 
be  as  big  an  artist  as  he  can,  he  must  first  of  all  remember  that  he  has  to 
explain  himself  and  his  subjects,  or  he  ceases  to  be  a  cartoonist  at  all.  A 
Futurist  Forain,  a  Cubist  Raemakers,  are  inconceivable  because  they  would 
be  quite  useless  as  cartoonists,  whatever  they  were  as  artists. 

The  artistic  value  of  the  cartoons  issued  in  all  countries — and  in  some 
cases  it  is  very  great — is  a  matter  for  future  discussion.  It  is  of  no  present 
importance.  What  is  of  some  actual  value  is  a  comparison  between  the 
cartoons  of  the  various  countries,  for  they  show  with  unfailing  accuracy  the 
trend  of  public  opinion.  From  the  human  point  of  view  this  comparison 
is  invaluable  to  the  student  of  humanity  in  the  present  upheaval.  From 
the  cheap  postcard  to  the  twopenny  broadsheet,  from  the  most  common- 
place poster  to  the  finest  lithograph,  each  has  its  place.  To  collect  these 
things  is  not  only  very  interesting,  but  most  enlightening;  the  national 
spirit  and  the  national  moods  of  each  country  are  unmistakably  portrayed, 
and  the  crudest  production  takes  rank  with  the  best  as  a  human  document. 

III. 

The  good  cause  has  always  produced  the  good  cartoonist — witness  the 
Napoleonic  wars,  when  England  rejoiced  in  Gillray  and  Rowlandson,  while 
France  had  no  topical  draughtsman  of  any  outstanding  merit.  So  far  as 
one  can  tell,  this  is  very  much  the  case  with  the  present  war.  At  any  rate, 
the  good  cause  has  produced  its  good  men,  and,  judging  by  what  one  can 
manage  to  see  of  German  caricature,  they  have  no  mind  of  any  large  calibre 
at  work  on  cartoons.  This  is,  perhaps,  because  the  greater  part  of  the 
German  drawings  I  have  seen  are  intended  to  rouse  hatred,  scorn,  and 
anger.     Clever  they  certainly  are,  but  too  many  of  them  are  spiritually 

vii. 


INTRODUCTION 

debased.  The  best  are  those  directed  against  England,  which  are  dedicated 
to  hatred,  a  passion  greater  than  scorn  or  anger,  and  consequently  more 
elevating  in  its  effects.  Otherwise  the  German  cartoonist  has  not  distin- 
guished himself,  in  the  sense  that  the  war  has  not  raised  him  above  himself. 

This  can  certainly  not  be  said  of  France,  where  a  crowd  of  new  men 
have  appeared,  and  where  the  well-known  draughtsmen  of  pre-war  days 
have  been  roused  to  unprecedented  excellence  by  their  emotions.  At  least 
one  of  them,  M.  Forain,  has  made  history  with  his  pencil.  There  came  a 
time,  when  the  first  excitement  had  died  away,  when  the  victory  of  the 
Marne  had  for  months  been  followed  by  stagnation — stagnation  in  victory, 
progress  in  casualties — a  time  when  no  news  ever  came,  when  Paris  was 
left  in  a  kind  of  twilight  of  suspense  and  endurance,  when  the  economic 
pinch  began  to  be  acutely  felt,  when  bereaved  wives  and  mothers  were  told 
in  the  morning  that  their  loved  ones  "were  gloriously  dead  for  their 
country,"  and  read  at  night  that  "there  is  nothing  to  report  on  the  front; 
the  night  was  calm."  And  for  just  a  moment  the  human  need  and  sorrow 
of  the  individual  cried  louder  than  the  pride  of  country.  "It's  very  long, 
this  war ! "  "What  I  want  to  know  is,  how  much  more  do  they  expect  us 
to  endure?"  "Could  defeat  be  worse  than  war?"  and  even  the  sinister  "if 
we  win,"  were  phrases  that  crept  into  conversation.  It  was  hardly  to  be 
wondered  at.  France  had  expended  so  much  energy  on  her  magnificent 
effort  in  August,  '14,  when  her  very  babies  bore  themselves  proudly  and 
with  self-control,  that  she  was  bound  to  feel  the  reaction. 

It  did  not  last  long,  and  it  was  Forain  who  swept  it  away  by  a  dose  of 
strong  tonic.  He  drew  two  French  privates  in  a  trench,  snow  and  hail  and 
shrapnel  raining  round  them,  in  conditions  as  bad  as  the  most  anxious 
mother's  nightmare  could  have  pictured  them.  And  one  says:  "If  only 
they  hold  out!"  The  other,  with  a  look  of  great  surprise,  enquires: 
"Who?"  "Those  civilians!"  In  a  week  that  drawing  was  historic,  and 
civilian  France,  with  a  blush  and  a  laugh,  had  pulled  herself  together. 
M.  Forain  does  not  care  to  have  his  drawings  reproduced,  or  this  famous 
cartoon  would  have  been  included  in  this  book. 

Nor,  unfortunately,  will  M.  Jean  Veber  have  his  cartoons  reproduced 


INTRODUCTION 

till  after  the  war,  which  deprives  us  of  that  Napoleon  of  his,  standing  on 
his  own  tomb  and  crying  "Vive  l'Angleterre,"  which  created  such  a  stir  on 
both  sides  of  the  Channel.  "La  Brute  est  Lachee,"  by  the  same  artist,  is 
one  of  the  most  impressive  drawings  France  has  produced  since  the  war. 
Published  so  early  as  September,  '14,  it  represents  the  Prussian  monster, 
madness  and  fury  in  his  face,  starting  out  like  an  unleashed  animal  on  his 
career  of  destruction. 

This  print  was  the  first  to  indicate  the  enormous  boom  in  war-drawings 
which  has  characterized  Paris.  Published  at  5  francs,  it  was  within  a  few 
months  unobtainable  under  500.  Collectors  took  the  hint,  and  the  draw- 
ings of  Forain,  Steinlen,  and  other  well-known  artists  were  eagerly  sought 
after,  and  rose  to  very  high  premiums.  The  character  of  the  prints 
changed;  with  the  exception  of  M.  Veber's  series,  the  greater  part  of  the 
drawings  published  outside  magazines  and  newspapers  had  been  cheap, 
ranging  from  threepence  to  two  francs  each,  and  including  some  publica- 
tions of  deliberately  na*fve  construction  and  crude  colours,  others  which 
achieved  without  deliberation  a  startling  likeness  to  the  old  broadsheets 
with  their  childlike  simplicity.  Postcards  and  prints  fairly  flooded  Paris 
in  the  first  few  months  of  the  war,  but  since  the  collector  appeared  on  the 
scene  in  his  dozens  the  cheaper  publications  have  been  displaced  by  more 
ambitious  works  that  range  up  to  a  hundred  francs  each,  and  have  crowded 
out  the  smaller  artist,  the  smaller  print-seller,  and  the  smaller  collector. 

This  variety  of  output  has  been  increased  by  the  publication  or  many 
illustrated  war-papers  in  Paris,  such  as  Le  CMot,  f  Europe  zAnti-Trussienne, 
VzAnti-Boche^  ^A  la  <Ba'ionnettei  war  editions  of  already  established  papers,  and 
a  crop  of  crude  halfpenny  papers,  printed  after  the  Epinal  manner,  and 
greatly  used  by  children  and  the  very  low  classes.  A  coloured  history  ot 
the  war,  of  extraordinary  naivete,  issued  in  penny  sheets,  was  intended  for 
use  in  schools,  but  achieved  an  additional  success  in  hospitals,  where  the 
thin  sheet  was  easily  held  and  folded,  and  the  incidents  depicted  roused 
the  liveliest  interest  among  the  wounded. 

In  the  whole  of  this  output  it  is  difficult  to  find  any  sign  of  wavering 
in  the  national  spirit  of  France.     Once  the  civilians   had  decided   to   hold 

ix. 


INTRODUCTION 

out,  there  could  be  no  other  stumbling-block.  Naturally,  in  such  a  range 
of  drawings,  there  are  many  that  drop  into  brutality  on  the  one  hand,  vul- 
garity on  the  other;  but  the  overwhelming  majority  breathe  a  spirit  of  calm, 
determined  endurance,  with  a  ready  laugh  for  hardships,  a  sly  dig  at  poli- 
ticians, and  no  little  irony  at  the  expense  of  their  own  weaknesses  and 
foibles.  Very  often,  so  often  as  to  set  the  key  for  the  whole,  the  note  is 
heroic,  sometimes  grimly  so.  There  is  none  of  the  splenetic  fury  of  the 
German  drawings  about  the  majority  of  the  French  ones;  the  Germans  are 
ridiculed  and  hated,  it  is  true,  but  the  spirit  is  more  steady  and  less  spite- 
ful— it  rests  on  an  emotion  which  for  forty-five  years  has  been  a  religion 
to  the  Frenchman. 

The  English  cartoons  are  as  different  as  possible  from  both  the  French 
and  the  German.  We  have  no  separately  published  prints,  our  postcards 
have  been  few,  vulgar,  and  negligible;  our  cartoonists  are  really  only 
offered  the  pages  of  newspapers  and  magazines  in  which  to  exert  their 
influence  over  us.  And  there  cannot  be  two  questions  as  to  that  influence 
— it  is  the  influence  of  good  humour.  The  French  mistake  it  sometimes 
for  indifference,  but  the  English  know  better.  The  Germans  say  they 
mistake  it  for  frivolity,  but  they  so  foam  at  the  mouth  about  it  that  one 
suspects  them  of  glimpsing  the  spirit  behind  the  smile.  The  grim  note  of 
Steinlen  and  Forain  is  almost  wholly  wanting  from  English  cartoons.  The 
Kaiser,  who  is  a  devil  in  France,  is  merely  making  an  unholy  fool  of  him- 
self in  England;  the  Crown-Prince,  a  mass  of  vice  in  Paris,  is  "an  awful 
silly  blighter"  in  London.  Will  Dyson,  the  young  artist  of  whom 
Australia  has  such  reason  to  be  proud,  is  our  grimmest  product,  and  even 
he  lets  the  Prussian  off  more  easily  than  do  the  French  artists.  Because, 
after  all,  don't  you  know,  we're  going  to  thrash  the  brutes,  but  there's  no 
need  to  make  a  fuss  about  it,  hang  it  all.  Let  us  have  our  pipe  and  our 
grin,  and  let  us  keep  to  those  till  the  end.  For  the  Lord's  sake  don't  let 
us  have  any  heroics — those  are  for  doing,  not  for  showing.  That  is  the  atti- 
tude which  one  finds  over  and  over  again  in  English  drawings;  not  contempt 
of  danger,  so  much  as  a  serene  determination  to  grin  at  it  and  have  no  fuss» 

Vunch  has  come  out  brilliantly  in  this  particular.     Allowed  by  tradition 

x. 


INTRODUCTION 

* 

to  have  two  heroic  cartoons  a  week,  the  rest  of  his  pages  are  dedicated  to 
the  god  of  laughter.  Germany  reads  Punch  with  stupefaction.  What,  we 
not  only  laugh  at  the  Germans,  we  laugh  more  at  the  English!  Extraor- 
dinary, sinister,  effete,  degenerate  race!  It  is  true,  we  laugh  at  ourselves 
far  more  than  at  anybody  else — and  very  often  it  is  for  that  painful  but 
cogent  reason,  that  we  may  not  weep.  Perhaps  at  the  front  they  laugh 
wholeheartedly  at  Tunch;  at  home  it  is  a  different  laugh  that  greets 
Tommy  in  his  imperturbable  good-humour.  In  the  midst  of  a  hell  of  fire, 
Tommy  says  that  what  with  the  beastly  Belgian  tobacco  and  the  blooming 
French  matches,  this'll  be  the  death  of  him.  Sitting  on  the  edge  of  a 
trench  which  consists  of  nothing  but  mud  and  water,  in  a  fearful  downpour> 
he  remarks  that  he  pities  the  poor  fellows  at  home — the  London  streets 
must  be  something  awful!  And  on  a  dozen  other  occasions  he  has  ex- 
pressed that  cheery  soul  of  his,  in  a  way  as  charming  as  it  is  moving. 

As  for  the  Germans,  perhaps  Mr.  Punch  reached  his  happiest  moment 
when  he  gave  us  the  German  family  "enjoying  its  morning  hate."  A 
French  paper  copied  that  with  enjoyment  tinged  with  bewilderment,  since 
the  idiomatic  "morning  hate"  was  beyond  the  French  editor,  who  published 
it  merely  as  "a  study  of  a  German  family  at  breakfast  time".  The  Ger- 
mans have  not  published  it  at  all. 

Nothing  more  light-hearted  and  igood-humoured  than  Mr.  Heath 
Robinson's  fantastic  inventions  (such  as  the  Tatcho  bomb)  could  be  found — 
unless  perhaps,  in  the  inimitable  aBig  and  Little  Willie"  of  Mr.  Haselden, 
which  have  given  pleasure  to  countless  people,  at  the  front  and  at  home, 
and  have  caused  howls  of  Majestatsbeleidigungisch  laughter  in  German 
trenches,  when  Tommy  has  been  so  kind  as  to  throw  a  copy  over. 

England  has  never  taken  cartoons  so  seriously  as  has  France,  nor 
has  she  a  public  for  separate  topical  prints;  but  she  has  done  as  much 
as  she  can,  for  her  war  cartoons  accurately  express  her  mind,  and  that  is 
their  real  function  and  constitutes  their  real  value. 

Neutral  countries  have  had  to  be  careful  in  some  ways;  it  is  difficult  to 
find  any  interesting  war-prints  or  postcards  on  sale  there.     What  there  are 

xi. 


INTRODUCTION 

are  rather  insipid,  at  any  rate  to  the  Allied  mind.  But  in  individual  news- 
papers and  periodicals  the  struggle  has  raged  fiercely  by  pen  and  pencil, 
pro-Ally  or  pro-German.  Mr.  Robert  Carter,  for  instance,  in  his  drawings 
in  the  U^(ew  York  Evening  Sun,  has  spoken  with  no  uncertain  voice,  as  one 
of  his  cartoons  in  this  book  will  witness.  Spain  has  had  more  pro-Ally 
cartoons  than  one  might  have  expected,  Scandinavia  has  been  very  discreet 
— Italy  never  was,  even  before  she  came  in. 

Holland  remains,  and  well  has  she  shown  that  she  still  possesses  that 
spirit  of  resistance  to  the  oppressor  which  dictated  the  pages  of  her  superb 
history.  Small  in  size,  in  a  geographical  position  of  great  danger,  her  eco- 
nomic interests  very  largely  identified  with  the  welfare  of  Germany, 
Holland  might  have  been  excused  for  holding  her  peace.  Everyone  knew 
that  German  influence  was,  and  is,  very  important  in  Holland;  that  the 
Netherlands  reek  with  German  espionage,  and  that  method  of  commercial 
penetration  which  is  one  of  Prussia's  most  valued  weapons.  Yet  none  of 
these  things  sufficed  to  silence  the  Dutch  love  of  liberty  and  hatred  of 
oppression.  A  band  of  Dutch  cartoonists,  hot  with  indignation,  took  the 
bit  between  their  teeth,  and  ran  away  with  their  pencils,  their  papers, 
their  public,  and,  if  their  startled  Government  is  right,  very  nearly  with 
Dutch  neutrality.  Anyone  who  has  watched  Dutch  drawings  must  have 
been  impressed  by  the  fire  of  the  pro-Ally  artists,  Braakensiek,  Albert 
Hahn,  Peter  van  den  Hem,  and  Lazrom.      Neutrality  is  too  pale  for  them. 

And,  of  course,  there  is  Louis  Raemakers.  Only  a  neutral  could  have 
done  what  he  has  done;  but  it  might  not  have  been  done  at  all  had  not 
Raemakers  arisen  with  his  accusing  pencil.  In  his  work  the  war  takes  on 
its  right  colour,  as  something  far  above  international  hatreds  or  the  struggle 
of  policies,  far  above  even  a  battle  for  the  welfare  of  peoples  whose 
interests  are  opposed.  It  appears  in  its  right  aspect,  as  a  spiritual  conflict, 
more  deadly,  more  earnest,  more  vital,  than  any  revolution  or  reformation 
or  war  since  that  struggle  in  which  proud  Lucifer  fell.  This  is  every  man's 
war,  the  world's  war,  the  war  of  God  and  devil.  And,  taking  this  heroic 
view  of  it,  Raemakers  has  stepped  into  the  role  of  Tragedy,  which  is  "to 
arouse   pity   and   terror,   and   the   noble   movements  of  the  soul."     His 


INTRODUCTION 

"Prisoners"  and  "Barbed  Wire"  (Plates  XXII.  and  XXIII.)  show  well  his 
detached,  tragic  quality.  There  are  many  of  his  drawings  which  are  too 
dreadful  to  be  contemplated  for  long — "Slow  Gas  Poisoning,"  the  German 
thief  trampling  in  blood  that  drops  from  his  heavy  sack,  the  professor  and 
the  devil  leering  delightedly  into  each  other's  eyes.  But  after  such  horrors 
one  comes  always  back  to  the  exquisite  tenderness  which  is  the  real  dis- 
tinguishing characteristic  of  Raemakers.  The  young  German  soldier  who 
writes  home  that  "our  cemeteries  now  stretch  nearly  to  the  sea"  is  as 
tenderly  drawn  as  are  the  widows  of  Belgium.  The  tenderness  of  strength 
is  the  heart  of  the  tragic  spirit,  the  heart  that  bleeds  for  suffering  and 
weakness,  the  heart  that  grows  hot  for  injustice  and  wrong.  It  is  this 
spirit,  with  its  heart  of  tenderness,  that  has  made  the  fame  of  Raemakers. 
It  is  not  comfortable  nor  pleasant  to  be  roused  to  the  tragic  sentiments, 
but  it  is  right  that  we  should;  and  had  the  Allies  needed  any  reassurance 
as  to  the  nature  of  the  reason  for  which  they  fight,  Raemakers'  work  would 
have  supplied  it.  The  good  cause  has  found  its  good  artist,  and  he  is  all 
the  stronger  because  he  is  a  neutral.  Like  Truth  in  the  cartoon  with 
which  this  book  closes,  he  has  held  up  the  mirror  to  the  Prussian,  and  we 
can  see,  Germany  can  see,  the  whole  world  can  see,  what  kind  of  soul  is 
reflected  therein. 


xm. 


ENGLISH    CARTOONS 

I.  The  famous  cartoon  by  F.  H.  Townsend,  "Bravo 
Belgium,"  fitly  appears  as  the  frontispiece  to  this  book. 
It  is  reprinted  from  Punch  by  permission  of  the 
Proprietors. 

II.  REHABILITATED  ! 

Germany  (to  her  Professor)  : 

"  What  if  we  do  not  fulfil  our  promises — 
the  whole  world  must  now  admiringly  confess 
we  are  men  of  honour — we  fulfil  our  threats  !  " 

By  Will  Dyson.      First  published  in   The 

Nation,  May  15,  19 15. 


II. 


ENGLISH    CARTOONS 

(continued) 

III.     AUDIENCE. 

^Prussianism.  ".  .  .  .  And  Poets,  Professors, 
Instructors  of  the  Young,  let  it  be  Your  divine 
labour  to  quicken  our  Germany  with  a  hate  of 
England  so  vast,  so  holy,  so  unappeasable,  that 
WE  need  fear  no  more  the  danger  of  her 
hating  US.'1 

By  Will  Dyson.      First  published  in    The 
Nation ,  May  8,  19 15. 


III. 


(*) 


ENGLISH    CARTOONS 

(continued) 

IV.     THE   BAFFLED   BURGLAR. 

The  'Burglar :  "I've  got  the  swag,  but  strafe 
that  copper  !  I  can't  get  away  with  it,  and 
there's  no  food  in  that  beastly  cupboard  !  " 

By    "F.C.G."      First    published   in    the 
Westminster    Qazette^    February    u,    191 6. 


IV. 


ENGLISH    CARTOONS 

(continued) 

V.      This  very  Haseldenian  page  speaks  for  itself. 

By  permission  of  the  Editor  of  the  T)aily  Mirror. 


V. 


ENGLISH    CARTOONS 

(continued) 

VI.     IMPERIALISMS. 

Under  this  laconic  title  Mr.  E.  J.  Sullivan 
shows  us  a  museum  specimen  of  that  extinct 
monster  "  The  German  Eagle." 

Reproduced  from  "  The  Kaiser's  Garland," 
by  permission  of  Mr.  William  Heinemann. 


VI. 


ENGLISH    CARTOONS 

(continued) 

VII.  Mr.  W.  Heath  Robinson's  well-known  series 
entitled  "Rejected  by  the  Inventions  Board,"  is 
typical  of  the  irresponsible  sense  of  fun  which 
English  People  seem  able  to  retain  even  in  war-time. 
Here  we  see  an  excellent  idea  put  into  action: 
"The  Armoured  Corn-Crusher  for  treading  on  the 
Enemy's  Toes." 

Reproduced  from  7/ie  Sketch  of  Jan.  5,  19 16. 


VII. 


A    NEW    ZEALAND    CARTOON 


VIII.  This  is  what  the  Auc\land  Observer  thought  of 
floating  mines,  in  the  first  few  months  of  the  war. 
Those  were  the  days  before  submarine  warfare  put 
even  mines  in  the  shade  for  wanton  cruelty  and  stupid 
destructiveness. 


ITALIAN    CARTOONS 


IX.  There  were  few  pro-German  cartoons  in  Italy,  even 
before  she  came  in  with  the  Allies.  Now  and  then 
her  artists  took  a  cynical  and  detached  attitude 
towards  the  awful  struggle  in  the  north,  but  for  the 
most  part  their  drawings  left  no  doubt  as  to  where 
their  sympathies  lay,  as  may  be  judged  by  this  and 
the  two  following  cartoons.  This  first  is  from  the 
Turin  Nutnero.  Musini  shows  the  Germans  paving 
the  ruined  streets  of  Flanders  with  the  material 
most  plentifully  to  hand. 


VIII.     , 


IX. 


ITALIAN    CARTOONS 

(continued) 

X.  &  XI.  In  these  allegorical  sketches,  published  by  PUomo 
di  ^Pietra^  .of  Milan,  the  artist  pictures  the  results  to 
Europe  should  Germany  and  should  the  Allies  win. 
Under  the  Prussian  sword  and  helmet  the  whole 
continent  lies  burning  and  bleeding;  around  the 
Phrygian  cap  of  liberty  her  merry  and  obviously 
well-nourished  children  play  over  her  prosperous 
lands,  amid  commerce-laden  seas. 


XI. 


TWO  ARGENTINE   DRAWINGS 

XII.  &  XIII.  The  Argentine  is  a  long  way  off — further  than 
Washington — and  might  have  been  pardoned 
if  she  had  looked  with  detached  philosophy 
upon  the  deeds  of  Germany.  Her  attitude, 
however,  leaves  much  to  be  desired  from  the 
point  of  view  of  Berlin.  Whether  as  a  rat 
coveting  the  good  Dutch  cheese,  or  as  "  the 
Monster"  taking  what  he  wants  from  helpless 
Belgium,  the  German  does  not  cut  a  good 
figure  in  the  Critica,  of  Buenos-  Ay  res. 


AMERICAN    CARTOONS 


XIV.  The  neutrality  of  these  three  drawings  is 
distinctly  open  to  question.  "  The  Order  of  the 
Iron  Cross"  is  from  Life,  of  New  York. 


XII. 


XIII. 


XIV. 


AMERICAN   CARTOONS 

(continued) 

XV.      "The  Hand  of  God,"  by  Nelson  Greene.      One  of 
the  best  known  American  cartoons  since  the  war. 

From  Pucfa  of  New  York. 


XV. 


(3) 


AMERICAN   CARTOONS 

(continued) 

XVI.  Mr.  Robert  Carter's  drawings  for  the  New  York 
Evening  Sun  have  acquired  a  reputation  in  Europe 
since  the  war.  This  is  one  of  the  best,  which 
appeared  on  January  18,  1916. 

The  Bear:  "Glad  to  see  you  out  again." 
Kaiser:  "I  feel  better  myself!" 


/****&& 


XVI. 


A  JAPANESE  CARTOON 

XVII.      "The    Austro-German    Alliance,"    as  seen  by  an 
artist  of  the  Jiji  Sbimpo  of  Tokio. 


XVII. 


DUTCH   CARTOONS 

XVIII.  THE  GAME  OF  CHESS. 

"He  alone  can  decide  how  the  game  shall  end." 
{T)e  Roskam,  of  Maastricht). 

XIX.  IN  THE  SUBMARINE. 


XX.       "TWENTIETH  CENTURY 
MONUMENTAL  STYLE." 

Suggestion  by  M.  Albert  Hahn,  in  De 
Notenkraker^  of  Amsterdam,  for  the  re- 
building of  Rheims  Cathedral  after  the 
war,  in  a  style  more  conformable  to  Kultur 
than  the  Gothic. 


XVIII. 


XIX. 


XX. 


DUTCH  CARTOONS 

(continued) 

XXL  "KREUZLAND!  KREUZLAND  UBER 
ALLES  ! " 

By  Louis  Raemakers. 

This  is  the  third  and  last  of  a  powerful 
series  of  three  drawings  of  the  sorrows  of 
Belgium— "The  Mothers,"  "The  Widows," 
and  "The  Children."  This  and  the  three 
following  drawings  were  among  those  which 
appeared  in  the  Amsterdam  'Te/egraaf,  and 
carried  the  fame  of  M.  Raemakers  almost 
instantaneously  over  the  world.  They  are 
reproduced  here  by  permission  of  the  Pro- 
prietors of  Land  and  Water. 


XXI. 


DUTCH   CARTOONS 

(continued) 

XXII.  PRISONERS.     "HUNGER  AND  MISERY." 

By  Louis  Raemakers. 

XXIII.  "BARBED  WIRE." 

By  Louis  Raemakers. 

Barbed  wire  figures  in  both  these  drawings, 
widely-different  as  they  are.  It  has  a  special 
significance,  used  as  a  background  to  two  such 
contrasting  aspects  of  war. 


X 
X 


X 

X 


DUTCH  CARTOONS 

(continued) 

XXIV.     "OUR  FATHER  WHICH  ART  IN 
HEAVEN." 

By  Louis  Raemakers. 


• 


XXIV. 


TWO    RUSSIAN    CARTOONS 

from  the  Petrograd  "Loufymorye" 

XXV.  Franz     Joseph     departs    to    the    Front    to    cheer 
his  Troops.      But  will  he  get  there  ? 

XXVI.  "THE  WEAKLING." 

Nobody  could  congratulate  Mother  Turk 
and  Father  Ferdinand  on  the  son  (Turco- 
Bulgar  Agreement)  Doctor  Kaiser  has  just 
helped  into  the  world.  It  would  hardly  be 
tactful  for  the  closest  friend  to  hazard  a 
statement  that  it  favoured  either  parent. 


XXV. 


XXVI. 


A    POLISH    CARTOONIST 


XXVII.  M.  d'Ostoya,  the  well-known  Polish  artist,  has 
published  in  Paris,  during  the  war,  a  very  strong 
series  of  drawings,  both  in  colour  and  in  black. 
Of  this  series  the  two  shown  here  are  among  the 
best-contrasted. 

Says  the  Prussian  Officer:  "Who  is  it  who 
commands  here  ?  You,  a  simple  little  Jew,  or  I 
— who  have  thirteen  quarterings  of  nobility  ?  " 


XXVIII.     A  DINNER  AT  HEADQUARTERS. 

"  A  pig's  head  was  also  served,  ornamented 
with  laurel-leaves — for  in  Germany  it  is 
customary  to  crown  pigs  with  laurel." 

Heinrich  Heine,  Germania. 


ft 


XXVII. 


£b>  a'it^z.  <xm-  Ouc^M^t  Jervieat 


(4) 


XXVIII. 


FRENCH   CARTOONS 

(continued) 

XXIX.  Poulbot  is  the  interpreter  of  French  childhood,  and 
in  that  capacity  his  pencil,  before  August  19 14,  had 
given  infinite  pleasure.  But  pleasure  ceased  to  be  a 
very  important  pre-occupation  in  August,  19 14, 
and  even  Poulbot's  sympathetic  pencil  lent  itself  to 
horror  as  easily  as  to  mirth. 

This  drawing  appeared  in  VaAnti-Boche,  of  Paris. 

"Don't  be  frightened,  kill  her — I've  got  hold 
of  her,"  runs  the  legend. 


—  N'aie  pas  peur,  tue-la,  j'la  ticns. 


XXIX. 


FRENCH   CARTOONS 

(continued) 

XXX.  When  the  Zeppelins  first  came  to  Paris,  public  interest 
was  immense,  and  children  were  wakened  that  they 
might  not  miss  the  sight.  This  drawing  by  Ba^lo 
from  P Anti-Boche,  is  not  at  all  exaggerated. 

"It  looks  like  a  sausage  !" 

"Oh,  no!"  cries  the  child,   "if  it  had  been  a 
sausage  the  Boches  would  have  eaten  it  long  ago." 

XXXI.  THE  GERMAN  ATROCITIES. 

This  was  one  of  the  earliest  coloured  prints  pub- 
lished in  Paris  during  the  war,  and  formed  part 
of  a  cheap  series,  issued  at  a  few  sous  each,  and 
printed  in  colours  the  most  brilliant  and  most 
naive.  The  little  boy  of  seven  who  was  shot 
for  levelling  his  wooden  gun  in  play  at  the 
German  invaders  was  a  very  favourite  theme 
with  all  French  artists,  from  Veber  downwards. 
The  incident  is  alleged  to  have  taken  place  in 
the  village  of  Magny,  Alsace. 


i^( 

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Sv*—  vKIpIk^  l-  *  ? 

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11  vty>     < 

frcUcU  <7  ***"_ 

XXX. 


LES    ATROCITES   ALLEMANDES 

L£8    ALL£M«ND»   TUENT    UN    ENFAWT    DE    7    AN6    QUI    LES    AVtttT    ffi!3    CN    JOUE    AVEC    SON    PUSH.    OK    BOiS 


•p*<t«»'c*tl  *n  **rf»«t  d 


I  p*«*r «  petit  <**•   »  •ersuia   d»»«  «>*  o 


»  <n  j«*e  im  Wt>  JimA  < 


>  uidon*  four!,  W 


XXXI. 


FRENCH   CARTOONS 

(continued) 

XXXII.  A  drawing  by  Armengol,  from  Le  %ire  Rouge, 
Paris.  "Retreat  from  the  Front"  (Le  Front  se 
Degarnit) . 


XXXIII.     IN  THE  BAGNIO. 


By  Gallo. 

"What  did  you  do  ?  " 

"I  killed  my  mother.      And  you  ?  ' 

"I  was  Emperor  of  Germany." 

(Reproduction   of  a   drawing 
TSaionnette,  Paris.) 


in    <iA  la 


XXXII. 


XXXIII. 


FRENCH   CARTOONS 

(continued) 

XXXIV.     THE   CONSULTATION   ON   THE  KAISER. 

T)r.  George  :    It  is  astonishing  how  effective 
are  the  "75  "  pills  of  Dr.  Poincare. 

Dr.  Albert:      Yes,    I    agree    with    you;    the 
treatment  should  be  continued. 

XXXV.     "THE    SACRED    UNION." 

By   Garcia   Benito. 

The  Marchioness  :   "Dear  me — in  uniform  one 
can't  tell  mine  from  yours!" 


Dr.GEORCES-C'estctonnant  comme  Us  pilules  JS  da  DsPoiimc^re.  lui^onTde.  I  effet. 
Dr>  Albert -OuL.Je  sub  de  votre  auis.d  faudra'tt  cont'inuer  avec  ce  traite merit.. 


XXXIV. 


GARCIA    liLMTO. 


XXXV. 


FRENCH   CARTOONS 

(continued) 

XXXVI.     "THE    SILENT    ONE  "— JOFFRE. 

By  Leandre,  the  allegorical  cartoonist,  in  Le  Hire 
^Rouge,  Paris. 

The  reputation  for  silence  enjoyed  by  General 
Joffre  is  better-founded  than  is  always  the  case 
with  the  reputed  characteristics  of  great  men.  In 
the  course  of  being  shaved  at  a  Paris  barber's 
recently,  an  English  client  was  told  that  General 
loffre  had  for  fifteen  years  been  a  regular  customer 
at  the  shop.  "And  what  sort  of  person  is  he 
really ?"  "I  don't  know,  sir — he  never  said 
anything! " 


XXXVII.  French  satire  has  not  devoted  itself  entirely  to  our 
enemies,  but  has  been  frequently  turned  on  France. 
There  are  comedy  and  irony,  perhaps  even  pathos, 
in  Albert  Guillaume's  cartoon  in  Le  cRire  l^ouge, 
of  the  fair  and  probably  frail  lady  who  replies  to 
the  Sister  of  Mercy's  request  for  clothes  for  the 
refugees:  "Certainly,  Sister.  Francoise,  bring  me 
my  pink  dress  with  silver  sequins.  Do  you  mind 
it's  being  slit  up  at  one  side,  Sister?  It  does  rather 
date  it." 


> 

X 
X 
X 


FRENCH   CARTOONS 

(continued) 

XXXVIII.     THE    SICK    MAN'S    BURDEN. 

The  Two-Hunned   Camel  [Le   Chameau   a 
Deux  Boches]. 

From  Le  ^Rjre  cR^uge. 


XXXIX.     AT  THE  GATES  OF  THE  VATICAN. 

"Open!    Open!    It    is   unhappy   Belgium!" 

The  Pope's  neutrality  was  not  popular  in  France, 
even  before  he  refused  to  pronounce  an  opinion 
on  the  violation  of  Belgium,  as  "that  had  hap- 
pened in  his  predecessor's  time."  Many  people 
consider  that  by  this  attitude  the  Vatican  lost  a 
priceless  opportunity  of  re-capturing  France.  It 
is  significant  that  this  moving  cartoon,  from  Le 
Rire  Rouge,  is  signed:  "A.  Willette,  Catholique." 


•       '  1  •>  >  » 


X 

I— I 

X 
X 
X 


._.,.  ; 


> 
X 
X 
X 


FRENCH    CARTOONS 

(continued) 

XL.     "The   Pope  says " 

By  Grandjouan   (he  ^Rjre  Rouge). 

XLL     GOTT  MIT  UNS. 

"What  would  they  have  left  Him  it  He  had 

not  been  with  them?" 

w 

he  *Rjre  Rouge.  jj 


X 


X 


FRENCH    CARTOONS 

(continued) 

XLII.  &  XLIII.  Steinlen  was  once  known  best  for  his  black 
cats — thin,  rather  wicked  cats,  prowling  and 
hungry,  and  with  inscrutable  thoughts  of 
their  own.  His  fame  grew,  his  scope  widened 
and  deepened,  but  never  had  he  probed  so 
deep  nor  risen  so  high  as  he  has  done  since 
the  war  took  him  from  his  observation  of 
social  traits  and  concentrated  him  on  the 
nobler  aspects  of  mankind — and  especially 
womankind.  These  two  drawings  are  from 
a  series  which  they  worthily  represent: 
"National  Aid"  and  "Glory." 


XLII. 


(5) 


XLIII. 


FRENCH    CARTOONS 

(continued) 

XLIV.      KAISER  BONNOT,  by  H.  A.  Ibels. 

The  war  has  not  obliterated  so  completely  the 
life  that  went  before  it,  that  we  have  forgotten 
the  Motor  Bandits,  headed  by  Bonnot,  who 
terrorised  Paris  by  their  audacity  for  many 
weeks.  Had  this  drawing  not  been  a  likeness 
of  the  Kaiser  it  would  still  have  been  a  wonder- 
ful delineation  of  the  apache,  his  reckless  soul 
showing  through  every  inch  of  his  stealthy 
body. 


K^er  -  JJonrvot 


XLIV. 


FRENCH    CARTOONS 

(continued) 

XLV.      DAVID  AND  GOLIATH,  by  Paul  Iribe. 

This  drawing  formed  the  cover  of  the  first 
number  of  Le  £Mot,  a  short-lived  but  most 
interesting  penny  paper  published  in  Paris 
during  the  war. 


XLV. 


FRENCH    CARTOONS 

(continued) 

XLVI.     THE  FAILURE,  by  Sem. 

"After  the  Battle  of  the  Marne,  more  than 
50,000  German  corpses  were  counted" 
— (The  Papers). 

Le  3£ot. 


> 

X 


»ui,  •   ;■/.■■  _.'...;.'... 


FRENCH    CARTOONS 

(continued) 

(A  Franco-Russian  Drawing.) 

XLVII.      This    drawing  by    Bakst,  which   appeared  In  he 
<£Mot,  bears  the  following  legend: 

"  Leon  Bakst,  the  great  Russian  painter,  promises 
very  soon,  he  says:  From  the  Carpathians  to 
Berlin  a  bound  in  the  style  of  the  Russian 
ballets,  to  the  great  stupefaction  of  those  hounds 
of  Germans  and  Austrians." 


FRENCH    CARTOONS 

(continued) 

XLVIII.      The  Empress  Eugenie  has  turned  her  house  into 
a  military  hospital. 

"Do  you  know  where  we  are,  Jimmy?" 

"The  nurse  told  me  that  it's  the  house  of  a  lady 
who  has  lost  her  son  in  the  war." 

From  Le  £Mot. 

XLIX.     THE  HOSTAGES,  by  A.   Hermann-Paul. 

From  a  woodcut  published  by  the 
Librarie  de  l'Estampe, 

68  Chaussee  d'Antin,  Paris. 


L-IWIPEBATHICE       EUGENIE      A       TRANSFOHHIE       SA       RESIDENCE      DE       FJRNBOROUGH      HILL      EN       rionTAL      HMT«-H«. 


XLVIII. 


XLIX. 


FOUR  POSTCARDS 


L.  A  Japanese  postcard,  on  the  resistance  of  Belgium  to 
Germany.  This  is  a  characteristic  production,  with 
the  legend  in  Japanese,  and  was  not  published  for 
the  Western  market.  The  English  names  and  num- 
ber were  written  on  it  by  the  purchaser  in  Japan. 

LI.  This  spirited  and  delightful  postcard  by  Nike,  one 
of  a  series  which  foreran  his  book  of  soldiers  (almost 
the  only  wholesome  war-book  for  children),  was 
published  as  early  as  August,  19 14,  before  the  vic- 
tory of  the  Marne.  Looking  at  its  breezy  outlines, 
and  at  the  merry  colours  of  the  original,  it  is  difficult 
to  believe  that  it  was  drawn  and  printed  at  a  time 
when  all  the  printers  were  mobilised,  and  makeshift 
workmen  formed  the  only  labour. 

LII.     THE  BATTLE  OF  THE  MARNE. 

"In  a  magnificent  rush  the  German  armies 
have  twice  passed  the  Marne.  All  goes  well. 
The  troops  are  fresh." — Wolff. 

Collection  of  6  cards  of  the  firm  Bouveret,  Le  Mans. 


LIII.     THE  LAST  TANGO. 

L.  Dalvy,  50  Bd.  de  Strasbourg,  Paris. 


GERMAN  CARTOONS 


It  is  not  easy  to  come  by  copies  of  the  German  papers, 
as  the  Trade-with-the-Enemy  Act  frowns  upon  such  com- 
merce. Happily,  there  are  neutral  countries,  through 
whose  agency  something  may  be  done.  This  and  the 
following  six  pages  are  devoted  to  German  Cartoons,  from 
Simplicissimus,  the  famous  Munich  illustrated  paper.  They 
are  very  clever,  very  mordant,  very  amusing,  and  always  at 
their  best  when  directed  against  England. 


LIV.     THE  LUSITANIA. 

"Isn't  it  madness,  to  take  so  many  women  and 
children  in  a  munition  transport  ?  " 

"On  the  contrary ;  by  this  means,  when  the 
ship  goes  to  the  devil,  the  world  will  be  raging 
against  Germany." 

And  it  was  ! 


LIV. 


GERMAN   CARTOONS 

(continued) 

LV.     EARNEST  TIMES   IN   WINDSOR  CASTLE. 

"To    the    noisy    applause    of  the   Salvation   Army, 
King  George  banishes  the  Devil  Alcohol." 

The  castle  is  not  very  life-like,  but  the  bottle  is — the  free 
advertisement  should  be  worth  something,  even  in  war- 
time. 


LV. 


(6) 


GERMAN   CARTOONS 

(continued) 

LVI.      D'Annunzio  :    "At  any  rate,  I  am  sure  of  being  im- 
mortal in  the  heart  of  my  creditors." 

LVIL     WHEN    BUDDHA    WAKES. 

This  is  a  typical  example  of  the  view  taken  of  the 
British  soldier  by  the  German  artist — that  he  is  ex- 
tremely long,  extremely  thin,  and  extremely  ugly.  He 
is  not  here,  however,  smoking  the  usual  pipe. 


LVL 


LVII. 


GERMAN  CARTOONS 

(continued) 

LVIII.     APACHES   IN    THE    TRENCHES. 

""Paris  without   light   and  without  police  !    That 
does  make  a  man  homesick  !  " 

LIX.     THE    MOOD    IN    FRANCE. 

(a)  Behind  the  German  lines. 

(b)  Behind  the  French  lines. 

LX.     THE    MOOD    IN    FLANDERS. 

"Is  that  an  enemy  aeroplane,  Madeleine  ?  " 
"No,  Fritz;  it  isn't  an  enemy,  its  a  German  !  " 


LVIII. 


LIX. 


LX. 


GERMAN  CARTOONS 

(continued) 

LXI.     A   ZEPPELIN    OVER    TRAFALGAR   SQUARE. 

Free  advertisement  appears  again  here — Otherwise,  the 
cab-horse  and  King  Charles  are  the  striking  features. 


■l  )J 


LXL 


GERMAN   CARTOONS 

(continued) 

LXII.     SONNINO    AND    SALANDRA. 

"Now  we've  got  the  money,  Herr  Colleague, 
you  can  summon  the  Italian  people  to  its  great 
historical  mission." 

LXIII.     KITCHENER    AND    FRANCE'S    RECRUITS. 

"Only  have  patience,  boys,  and  you  shall  yet 
fight  for  England.  We  will  keep  the  war  on 
long  enough  for  that." 


LXIV.     BRITANNIA    THE  HOUSEKEEPER,  TO 
THE  FLEET: 

"I  must  dust  you  nicely  every  week,  so  that  you 
may  be  as  good  as  new  when  peace  is  concluded." 


LXV.     THE    POOR    LARK. 

"I  give  it  up,  trying   to    sing   against  the  guns! 
I'm  completely  hoarse  already." 


LXII. 


LXIII. 


LXIV. 


LXV. 


GERMAN    CARTOONS 


(continued) 


LXVI.     ENGLISH  TACTICS. 


"Only  two  Dreadnoughts  against  one  small 
cruiser — it  will  take  a  lot  to  make  the  English 
attack!" 


LXVII.     LORD  KITCHENER  DISTORTS  THE 
EVIDENCE. 

"This  man  says  that  the  Germans  treat  their 
wounded  prisoners  well.  But  you  see,  Sir,  that 
they  have  tortured  him  so  terribly  that  he  has 
lost  his  senses." 

Better  caricatures  than  these  one  could  not  ask  to  see. 
Tommy  comes  off  worse  than  anyone  else,  and  even  for 
him  his  ear  and  his  breeches  have  been  rendered  character- 
istically. 


LXVI. 


LXVII. 


LXVIII.     THE  TRUTH. 

By   Louis   Raemakers. 

By  permission  of  the  proprietors  of  Land 
and  IVater. 


LXVIII. 


THIS  BOOK  IS  DOE  ON  THE  east  DATE 
STAMPED  BELOW 


FEB   14  1933 


26Febv58AR 
W 8TACK5 

FEB  12 1958 


i 
MAY  15  184Jfly2S'64-9pM 
31W5IRC      ftflCElV^ 

l7Jui5iii.    J   DEC V/ 195 

/RCUUTfON  DEPT 
*ML     1956  LI 

LD  2l-50w-l ,'3{ 


YE  0334; 

U..C.  BERKELEY  LIBRARIES 


CDM77^fe113b 


